Abstract
In this article, conceived of in an epistemological perspective, film history and history of psychology intersect in order to show how subject models are circulating around 1900 which are impregnated with scientific culture and social modernity.These models have the special quality of being defined first in pathological terms because they result from a diagnosis of the evils caused by the new industrial and capitalist society. However, the position required by the cinematic apparatus produces a spectator who is described as a subject-machine with the particular psychophysiological states that precisely concern the neurotic, the paramnesiac and the sleepwalker. If our point is to show how close the (para)medical and cinematic subjects are, we will also try to see how far cinema interacts with phenomena related to urbanity and other developments of Western civilisation, the latter being considered as a transforming agent of the psychic apparatus.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
